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hi all,

a new great "Obsessive Surrealism" cd album review here:


just created some new Demo clips for the Analogue Systems RS370 Polyphonic Harmonic Generator module.

you can check them here:
with these complex patches, using the RS370, you can realize the great capabilities of this module when used in a modular environment.

best regards,    :)

Memory Geist – Funereal Cavern

CD, Musica Maxima Magnetica, 2007
Memory Geist is a collaborative project of the Greek musician Bakis Sirros (aka Parallel Worlds) and Australian composer Steve Law (aka Zen Paradox, Starseed Transmission). “Funereal Cavern” is their debut album, for which Bakis send some soundscape recordings to Steve, which he proceeded to edit and process into new pieces of music. The almost 60-minute ambient/experimental album contains three extended pieces filled with deep, sometimes almost ghostly atmospheres. To it, some  nice, grainy elements have been added in the first track “Shadowy Periphery”. The second title “Deepest Reaches”, clocking at 20 minutes, is a strong, extended voyage inward featuring the voice of Sayaka Yabuki (a female musician with whom Steve has collaborated quite a lot). It all ends up in a slow morphing and meandering ambience with some uplifting, ethereal sounding elements as well. The closing title track starts out with metallic sounds and bells, later ending up in a floating textural, sometimes slightly menacing sounding dronescape.   

All in all, this is some well-produced deep and dense quality ambient music demanding focussed listening.

Bert Strolenberg

Parallel Worlds are playing live at Synch Festival 2008 ( , on Friday the 13th of June.

PW will present tracks from their 4 albums plus unreleased material, combined with (real-time manipulation of) the surreal background visuals of MT (Maria Tsiligiridi).

This year’s line up ( ):
(Places: Technopolis, Benaki Museum, Athens - Greece)


YO LA TENGO (live) - USA
HOLY FUCK (live) - CA
LIARS (live) - USA
RODES (live) - GR
SOISONG (Peter Christopherson (ex coil) & Ivan Pavlov) (live) – UK, RU
THE FIELD (live) - SWE
DSL BROS (live) - FR
PEDRO (live) - UK
KREON (dj set) - GR
ION (live) - GR
MENELAOS (live) - CY


DubStepByStep feat :
PINCH (dj set) - UK
HEADHUNTER (dj set) - UK
PEVERELIST (dj set) - UK
URBAN DISCO (dj set) - GR
LUOMO (live) - FI
DJ PIERRE (dj set) - USA
TONY LIGHT (live) - IT


MONIKA (live) - GR
CHRONIK (live) - GR
JUAN ATKINS (dj set) - USA
PONI HOAX (live) - FR
MORITZ VON OSWALD TRIO feat. Moritz Von Oswald, Max Lodenbauer, Vladislav Delay (live) - DE
KODE 9 (dj set) - UK
ANGEL Ilpo Väisänen (of Pan sonic) , Dirk Dresselhaus (of Schneider TM) Hildur Gudnadottir (Lost in Hildurness, Mum ) ] (live) – FI, DE, IC
PILOOSKI (dj set) - FR
LEMOS (live) - GR
STAUBGOLD SHOWCASE : Klangwart & Mapstation (live) - DE
ELICA (live) - GR
SANCHO (live) - GR
BLACK ATHENA (dj set) - GR
CARTER / TUTTI (live) - UK

Synch Festival is one of the most-respected festivals in Greece and, so far, many well-known artists have performed there, like:

Plaid, Front 242, A Guy Called Gerald, Biosphere, Fennesz, Fischerspooner, Bill Lasswell, Mouse On Mars, Jan Jelinek, Pan sonic, Senior Coconut, Tortoise, Tuxedomoon, Vector Lovers, etc…

Now Playing / Re: Currently listening, part 1
« on: March 30, 2008, 07:34:53 AM »
Pete Namlook & Higher Intelligence Agency - S.H.A.D.O.
Ian Boddy & Chris Carter - Caged

Now Playing / Re: Currently listening, part 1
« on: March 19, 2008, 02:43:10 AM »
I agree - those Koner discs are favorites!

I've been listening to Bola, Plaid, and Telefon Tel Aviv today...
all great.

Now Playing / Re: Currently listening, part 1
« on: March 11, 2008, 08:25:06 AM »
Vidna Obmana and Asmus Tietchens - Motives For Recycling

Now Playing / Re: Currently listening, part 1
« on: March 09, 2008, 04:45:56 PM »
Autechre - Untilted
Experimental Audio Research - The Koner Experiment
Tetsu Inoue - Organic Cloud

Now Playing / Re: Currently listening, part 1
« on: March 07, 2008, 07:29:36 PM »
KS - ...Live... (rerelease)
TD - Bootleg Box vol.1 cd2
Chris Clark - Empty The Bones Of You

Now Playing / Re: Currently listening, part 1
« on: March 06, 2008, 02:00:03 AM »
Vidna Obmana - Opera For 4 Fussion Works Act 2 : Phrasing the air
V/A - Chaos lovers
Ian Boddy - The Final Question
Depeche Mode - Playing The Angel
Five Thousand Spirits - Mesmeric Revelation

Now Playing / Re: Currently listening, part 1
« on: March 02, 2008, 08:12:41 PM »
Steve Stoll - Earthling
Vidna Obmana and Asmus Tietchens - Syrenia 2

Now Playing / Re: Currently listening, part 1
« on: March 01, 2008, 01:47:52 AM »
during the last days:

Vidna Obmana and Alio Die - Echo Passage
Five Thousand Spirits - Mesmeric Revelation
Radiohead - In Rainbows
Plaid - Parts In The Post
Aphex Twin - Druqks
Tetsu Inoue - Ambiant Otaku
Vidna Obmana - An Opera For 4 Fussion Works: act1, act2, act3
Move D Namlook - Raumland Exploration
David Morley - Ghosts
Five Thousand Spirits - A Tapestry For Sorcerers

thanks guys!     :)


The first Greek ElectroGothic Fest is now a reality! “Small Music Theatre” Music Hall and the music portal “” organize ElectroGothic Festival 2008, which will last four days and will take place from March 13th to 16th at the Small Music Theater Music Hall (Beikou 33 str, Koukaki, Athens).
more info @

Parallel Worlds will be playing on the 13th of March presenting tracks from their latest cd album ’Obsessive Surrealism’ plus older and unreleased tracks, combined with otherworldly background visuals by J.Davakis



Obsessive Surrealism is included in the Top 20 albums of 2007 in MIC greek webmag:

the album is on position 16.

Obsessive Surrealism (DiN26) album is included in Bill Binkelman's Top 20 Electronica albums of 2007:

(scroll down, as the order is only alphabetical)

also, Obsessive Surrealism is included in Ellias Granillo Top albums of 2007 (Sea Of Tranquility website):

also, Obsessive Surrealism is included in M.Hulot's (LiFo mag) Top 20 greek albums of 2007:


enjoy, or not.
best regards,     :-)

a great review (in Italian) here:
rating 7 out of 8

PARALLEL WORLDS - Obsessive Surrealism CD review

Ian Boddy's Din label is now famous world-wide as the leading electronic music label that mixes originality with accessibility - you won't hear something on this label that bores you to death and you also won't hear anything that bores holes in you. This is no exception. The opening track, 6 minutes of "Beneath Fear" immediately serves as testimony. There's a melody line but it's twisted, there's a rhythm but it's angular, there's a texture but it's choral and a strength but it's magical. As keyboard, synth and electronci and electro-percussive rhythms move over each other like tectonic plates slowly coming to life, the feeling is of a giant awakening from a long-held slumber, the peice possessing more atmosphere than purpose, but, inreality, plenty of each. So much so, that the 5 minutes of "Different Pathways" is altogether lighter as though the giant beast has sprouted wings and is now able to fly, stretch and circle, albeit slowly, as musical muscles are flexed and the synths wheeze and groan in a highly melodic manner, drones the wheeze, bass rumbles the groans, as twinkling synth tunes in the distant, sparkle on top of slowly flowing electro-percussive beats, boinging bass synths and swirling gas clouds of electronics. The 3 minutes of "Empty Human Cells" is typical of the album as every track is its own entity and yet there seems to be a natural thematic follow-on from the previous piece. Here the sound is altogether bigger, with giant bass synth rhythms booming out slowly as more cosmic synth textures dance behind an array of heavenly melody lines, the dominant force beingt the dark rhythms that hang like a cloud over the optimism, turning light into something altogether more eerie, the synths gathering strength and an assembalge of rhythms and layers gliding purposefully acroass a universe of space synth backdrops. Ironically, the 6 minutes of "Increasing Complexity", is altogether more simplistic, as electric piano melody flows over gentle synth rhythms and undulating backdrops to provide a restrained respite from the increasing intensity, this time a big loping electro-percussive synth rhythm taking centre stage as the melody meanders, the rhythm undfolds and wheezing, puffing electronic rhythmic backgrounds supplement the main machine heart of the beast, all the while the melodic blood flowing through its veins and keeping it alive and vital. "Caves" also focuses on the rhythmic side of things as the central theme unfolds before these subside to leave a sea of slow-motion keyboard chords that lull you before the impending darkness falls and the life of stuttering rhythmic complexity begins to form all around you. Two minutes of deep, dark industrial strength cosmic synths allied to industrial strength booming electro-percussive rhythms serves as a bridge between what has gone before and the magical 9 minutes of "Reflective" where string synths and soaring space synth swoops create something timeless and beautiful as the, now familiar, sound of a booming electronic beat, this time slowly, emerges and takes its place at the centre of its universe, the synth flow darkening, the melodic intensity deepening and the whole thing gathering strength and layers to take off to the skies like some giant spaceship of unknown origin and yet seemingly familiar design. The rhythms rev up like rocket motors and the resonant rumble of boinging bass synths adds to the electro-percussive beats as the stirring sound of string synths weves the melodic web and all manner of eldctronic surrounds provide a pastoral presence to sit naturally against the blackness of the rhythmic mood. The near 9 minutes of "Mindmists" is altogether more abstract and here the melody factor disappears into one giant musical black hole, out of which comes the echoes of distant melodie that ahve ben swallowed up by the darkness, th whole main figure gurgling, rumbling, lurching and sucking in every musical layer you care to throw at it, as, one after another, rhythms tumble freefall through space while the sound of distant mellotrons provides a backdrop for the juxtaposition of cosmic bliss and dark bleak space, the gravity wll eventually falling away to reveal uncharted regions of space through which you cruise with electric piano, mellotron, electro-percussive rhythmic rumbles, off-key electronic backdrops and space synth masses, all combine to create a wholly new musical universe that soon bursts into life and evolves into yet another spellbinding example of rhythm and texture. Three tracks between 4 and 7 minutes complete the picture in similar vein to what has gone before and the epic journey is over, something that has transfixed you yet somehow has left a mark that is felt but not remembered, as you lay it to rest, knowing one day son, that it's a journey you will wish to undertake once more to see the altogether different musical sights that youmight have missed first time round and to enjoy the shape of the universe in many and varied ways. Adventurous originality combined with accessibility in electronics is summed up by this album.

Andy Garibaldi(Dead Earnest) 12-07

Bakis and I did a cd exchange a while back and so I have a copy of Obsessive Surrealism.   My favorite thing about the album is it's strong sense of mood and feeling - there's a sort of melancholy spirit to the entire album which I mean in a very good way.   Not many albums jump out at me with such a strong sense of feeling and emotion like this.   

His massively cool collection of gear never gets in the way of his music.   It's definitely soundtrack-ish and works well either background or foreground.   He seems to be pulling from a number of musical sources so it's hard to pinpoint what style of music it is - it seems to bridge ambient and more sequencer based berlin school type stuff very nicely.

No - he's not paying me.  :)

thank you John!    :)

Review from Bill Binkelman (of Wind and Wire):

Obsessive Surrealism
DiN (2007)
11 tracks, 63:29

Bakis Sirros (Parallel Worlds) reinvents retro-EM on Obsessive Surrealism, one of the best EM recordings of the year. As he weaves his way through eleven tracks (many under six minutes - a decision that I applaud, frankly), he immerses the listener in a shadowy realm where a myriad of past EM and electronica influences (chief among them are John Carpenter’s soundtracks) merge with a dark yet lush contemporary tint. A smattering of synth-pop touches, perhaps trace elements of Jarre, Tangerine Dream, or Synergy also surface, as well as echoes of contemporaries like Current, Di Evantile, and others. The music (much of it created on modular analogue instruments) is always couched in an atmosphere permeated with dread, foreboding, menace and mystery. Because the music frequently has a cinematic aspect to it, I think Sirros’ biggest influences were the music from films such as Escape from New York, The Fog, and to lesser degrees, Big Trouble in Little China and The Thing (and yes, I know The Thing soundtrack was actually composed by Ennio Morricone, thankyouverymuch). Regardless whether you will agree with me on this point, Obsessive Surrealism is an entertaining disc and certainly plays better in the foreground rather than as sonic wallpaper. You’ll really want to listen to this one.

The opening “Beneath Fear” gives you a good indication what to expect. Muted bell tones are set off against assorted skittering electronic FX and minor chord washes. Rhythms emerge gradually but build in intensity along with the addition of moody chorals. “Different Pathways” begins with a steady snare and bass drum beat. Burbling static and organ-like chords are right out of The Thing, and have that same “hair stands up on the back of your neck” effect, as if something is approaching and it’s not gonna be pleasant. Yet, the energy of the song (unlike Carpenter’s soundtracks) is dialed up to a higher intensity level. It’s almost infectious, an intriguing counterpoint to music suffused with dread. “Empty Human Cells” evokes Escape from New York at times, with the same pulsing rhythms and flurry of synths that marked one of Carpenter’s more sought after works.

Sirros settles down only occasionally (too bad) e.g. on “Increasing Complexity” with its echoed piano, bell tones, and undulating drones, eventually married to some midtempo synth bass beats and weird effects. He takes aim at a mixture of ‘80s dance/synth pop crossed with neon-lit Berlin on the bouncy, energetic “Distracted.” Harold Faltemeyer meets Tangerine Dream, perhaps? The CD ends with the dark Sturm und Drang of “Crying Spells,” a welling-up dose of propulsive yet oppressive power, reminding me of Big Trouble in Little China crossed with The Keep (soundtrack by Tangerine Dream).

Despite my numerous allusions to other artists (notably Carpenter and his unnamed accomplice Alan Howarth), don’t be mistaken in thinking Obsessive Surrealism reeks of copycatting. Bakis Sirros is certainly an original. The music here is a hybrid of retro analogue-driven and contemporary EM, with the emphasis on the former but not in a derivative fashion. More than anything else, what Sirros’ infuses this CD with is a delightfully sly mixture of fun and frights. Charged with a shadowy spookiness and a dose of creepy menace around every corner, the album is very highly recommended.

Rating: A

Bill Binkelman / Wind And Wire

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